R - releasedD - released in different versionO - other not Badalamenti tracksS - sound effect(s)X - released in different speedN - released, but released version omits some parts (omitted part signed with *)M - this mix is releasedI - mix released but not in version used in the seriesC - cast$ - released at wrong name as "Letter from Harlod" (in "Diary Bundle")L - Lost in the ArchiveU - unreleased in original version (but released in/as mix)

#1, #2 etc. - some songs was used in episodes only in parts, this are parts used in particular epiosde=> - track blends into next one

..................................................Episode 8: May the Giant Be With You..................................................

NEW TO THIS EPISODE:

-- Black Lodge Rumble: Season Two starts off with a decidedly more dark, disturbing pulse once the extended main credits sequence tapers off and settles into a sustained, droning sound that initially has some statements of the Laura Palmer Theme, but for the most part, consists of an otherwordly rumble that will become a cornerstone of season two. I'm choosing to call it the Black Lodge Rumble, given that it will often be used in scenes that include characters who, we will come to learn, are inhabitants of The Black Lodge, such as the derecript waiter who figures so largely in the opening minutes of the premiere. The track also contains some sharp, heavy sounding reverberations (almost like the slowed-up dropping of a needle on a vinyl record player) that will also be used in season two during the appearance of lodge characters, such as in Episode 9, when Donna visits Mrs. Tremond; and Episode 23, when Bob shows up after Josie collapses. And features the ambient sound (upon the appearance of The Giant) that initially appeared in the series during Cooper's encounter with the Dwarf in the waiting room in Episode 2, when he rubs his hands together malevolently.

It's almost like Lynch was trying to hint, musicaly, at some underlying darkness linking characters like the Tremonds, the waiter and the Giant.

It also plays under the One Eyed Jacks Parlour Music in Episode 12 during Cooper and Truman's rescue of Audrey. (Perhaps it's the red curtains?)

Interestingly, it plays in Episode 17 when Josie literally stumbles back into Truman's life, as if Badalamenti were subconsciously hinting at the hand of the Red Room inhabitants in Josie's future fate. Here it ends with a statement of Laura Palmer Theme Climax (Cooper Nostalgia Version) (see Episode 4)

In Episode 20, it underscores Cooper's decision to trade himself in for Ernie during the Renault bust, and later plays in the same episode during Renault's speech about Cooper's coming to town. In a way, the music suggests that Renault, in blaming Cooper for meddling in the affairs of Twin Peaks, is also speaking for the denizens of The Black Lodge, who Cooper is destined to do battle with, too.

Starting in Episode 22, it begins to underscore Earle's nefarious doings, as in the scene when he batters Leo into writing the poem; Episode 24, as Windom talks his way into the Hayward household,

Not yet released.

-- Behind the Mask: Plays during the opening scenes that pick up the action inside One Eyed Jacks: Ben unknowingly lusting after Audrey, Jerry baiting Later returns in Episode 8, again in One Eye Jack's, when Blackie scolds Audrey for being smart with her. Contains sections that will be repeated during Cooper's intuitive gathering of suspects at the Roadhouse in Episode 16. It continues with some statements of the Laura Palmer Theme and some classic season one statement of Horne's Theme as Ben leaves Audrey.

Not yet released.

-- Unease Motif: More sound texture than music, but this will get used to a great extent in season two. It plays in this episode when the scene returns to Cooper on the floor, as he realizes his ring is missing, and during the smiling bag scene in the hospital. Has shades of "Night Life in Twin Peaks." Gets a nice, clean treatment later in the episode when Mike arrives at the sheriff's station.

Also plays in Episode 18, when Cooper and Truman speak to Betty Briggs after the major's disappearance, at the moment Cooper mentions that Garland had spoken of the woods before he vanished, and later, appropriately enough, when Briggs, after being detained by his superiors following his return, tells Cooper and Truman that he believes his bosses' interest in The White Lodge is not ideologically pure. Later returns in Episode 24, when the Log Lady and the Major visit Cooper at the sheriff's station to tell him about their shared tattoo.

This track seems to be intimately tied to Major Briggs.

Not yet released.

-- Freshly Squeezed (Bass Clarinet Version): Plays in the Double R during Maddy and Donna's talk. Released from DL.com in April 2011. Will get played again in the same episode, during Donna's seduction of James through the bars of his jail cell. If you listen closely, it gets a brief, official debut as Audrey leaves her last note for Cooper before she leaves for One Eyed Jack's in Episode 6. Turns up later in Episode 14, when Nadine breaks her chocolate shake glass at the Double R and spins around in a trance, and Episode 20, in the scene in the sheriff's office in which Dick, clad in detective garb, enlists Andy's help in visiting the Happy Helping Hand office to dig up files of Little Nicky and later in the same episode, during Andy and Dick's actual infiltration of the office.

-- Night Bells: Makes its premiere in this episode, at the start of the scene when Donna visits James in jail. Will return many times in season two, as in episode 10 when Nadine comes out of her coma, and in FWWM, when Laura and Bobby bug out in the woods after shooting the Deer Meadow cop.

Plays in Episode 18 when James meets Evelyn at Wallies, and later as James tells Evelyn of his desire to just take off.

Gets mixed with Jazzy Drum Beat #12 in Episode 13, when Nadine convinces Ed to "stay in" and jumps him on their couch, and returns in Episode 28, when Nadine counters the news of Ed and Norma's engagement with her own offer of marriage to Mike.

Night Bells is Track 12 of Season Two soundtrack.

-- Unease Motif #2: A sister track to the original Unease Motif, playing briefly during Bobby's visit to Shelly in the hospital, when she tells him she was afraid of dying. Also plays in Episode 10, when Cooper and company discovery the haliperidol needle in the bathroom of the sheriff's station, episode 11, when Joanathan pays a visit to Hank at the Double R, in Episode 14, when Mike sizes up residents of the Great Northern, later in episode 14 when a drugged Sarah slithers down the Palmer household steps, and in extended form at the end of Episode 27, during the montage of familiar, though empty Twin Peaks locations before seguing into the ambient sound accompanying Bob's exit from The Black Lodge.

Also gets played in Episode 18, when Cooper listens to his first tape from Windom Earle in his room at the Great Northern and receives Earle's next chess move, ending with the suspense synthesizer version of the Laura Palmer Theme.

Not yet released.

-- Audrey's Prayer: This track, thus named on the Season Two soundtrack, and later turned into Questions in a World of Blue for FWWM, is really the musical backbone of season two, as it came to represent so many different things over time, and underwent so many variations. It makes its premiere in this episode in a subdued, slowed-up version playing under Major Briggs' description of his vision to Bobby in the Double R, and later as Harriet recites her poem during the family dinner with the Palmers. Over time, it will be played during: Audrey's prayer to Cooper at the end of Episode 8; Audrey's talk with Cooper in his room before he gets the call about Maddy, in which she makes sure to tell him she didn't sleep with anyone; Donna's discovery of Madeline's death in Episode 16; Leland's wake in Episode 17 (in a slowed-up version that I believe is a harmonium); Audrey's goodbye to Cooper in Episode 17; Briggs' return in Episode 19; James' REAL departure from Twin Peaks in Episode 23; Audrey and John Justice Wheeler's picnic and first kiss in Episode 24; and frequently played in later episodes of season two to represent Cooper's budding love for Annie (the canoe date in Episode 26), and in this fashion it is probably best known as its slower, jazzy variation from Episode 27, called Annie and Cooper and released on DL.com in March.

-- Laying It All Out: This track is a mixture of the Laura Palmer Theme, the Danger Theme and the Love Theme, and plays during Cooper's restatement of the facts of the Laura Palmer case in the boardroom of the sheriff's station, with flashes of wind blowing through Douglas firs.

Not yet released.

-- Yeah, You Know Leo: more brooding underscore as Hank updates Ben on his recent activities and Jerry gets hung up about Leo chopping wood...inside! I'm tempted to call this Plotting #2 (see Episode 4), given the nature of the scene, but this is just sustained, not-at-all-melodic brooding underscore.

Not yet released.

......................Episode 9: Coma......................

NEW TO THIS EPISODE:

-- Barbershop: Track 11 of Season Two soundtrack, played as Cooper and Albert do breakfast at the Great Northern. The episode version of this track ends with some dark underscore as the scene shifts to Jonathan spying Cooper from another table.

-- Danger Theme (Slowed Down): Extra-creepy version of theme playing when Ronette IDs BOB in the hospital.

Not yet released.

-- One Eyed Jacks: This music, first played when Audrey comes accross the tied-up Baddis, will be used frequently to trace the detereorating situation Audrey has gotten herself into at One Eye Jacks. It is a different, sort of sleazy version of Hornes' Theme, specifically, the portion of the season one soundtrack piece "The Bookhouse House" that starts at 2:12. It will be used again when Cooper inquires about Audrey's whereabouts to Ben in Episode 10, when Jean Renaut kills Baddis in front of Audrey in Episode 11 and when Ben comes to see Audrey at the Bookhouse after she's been rescued in Episode 12.

Not yet released.

-- Drug Deal Blues: Makes its debut this episode, when Bobby and Shelly discuss what to do with Leo in Bobby's pick-up truck. This is a track mostly associated with Bobby and Shelly: it will play when they "celebrate" Leo's vegetable state and flateringly on the radio before Leo rawakens and attacks Shelly.

In FWWM, it's used in the scene in which Laura and Bobby, stoned, trek into the woods to meet the Deep Meadow cop/drug dealer.

Returns in Episode 19, when Mike complains to Donna that Nadine's superpowers are going to get him in traction. Oh, how quickly he'll come around on that one. And in Episode 25, when Annie talks with Shelly in the Double R about how weird it is in the real world.

Track 14 of Season Two soundtrack.

-- Just You: Requires no explanation, does it? Thematically, it underscores James and Donna's relationship. After the rift caused by Maddy is bridged in the aftermath of Harold's explosion in Episode 13, it's briefly used during Donna and James' umpteenth pledge to put their head and hearts together and later in season two, once when James' situation at Evelyn's gets more complicated (Episode 21) and later, in Episode 25, as Donna reads a postcard from James, who has left Twin Peaks.

-- Tremayne's Swing: A jazzy track that introduces Dick Tremayne as he enters the sheriff's station to meet Lucy.

Not yet released.

-- Mister Snooty: Plays during Dick and Lucy's lunch. A track that will later be used as a fake source cue in Episode 16, during Leland's creepy dance Donna, and comedically in another episode as Dick is nearly injured as he attempts to change a tire during a jaunt with Little Nicky.

Released on DL.com in May 2011.

-- Twin Peaks Theme (Solo Rhodes): Makes its first appearance here in the scene when Doc Hayward induces Nadine to come out of her coma. Once she becomes reanimated, Night Bells kicks in.Later returns in Episode 17, when Norma's mom reveals, "M.T. Wentz, c'est moi and, in Episode 18, as Ben watches his hold home movies, the scene starts with the Harp and Guitar version of theme before segueing into the Solo Rhodes variation as Ben approaches the screen. Interestingly, the solo rhodes version gets used to highlight two characters fleeing from reality by emotionally denying their current life and taking on different personaes (Ben as Robert E. Lee, Nadine as her high-school self.)

-- Western Ballad: Plays as Norma gets the call about M.T. Wentz, Donna picks up Harold's meal and Hank gets a sudden burst of creativity and leaves to get new decorations for the diner in preparation for Monsieur Wentz' arrival.

Returns in Episode 15, when Norma lambasts Hank for slipping out on her, and more memorably in Episode 27, where it is paired with Unease Motif #2 (see Episode during an unsettling scene in which the camera ever-so-slowly pulls back from the image of Cooper enjoying a cup of coffee at the Double R while talking with Annie. The scene ends with image of coffee slowly dripping out of a broken saucer, foreshadowing the Man from Another Planet's experiments with coffee in the Black Lodge in Episode 29.

Not yet released.

-- Preparing for M.T. Wentz: A cute faux-Parisian tune that plays in the scene when Hank and Norma go overboard when serving the man they think is the famed restaurant critic.

Not yet released.

-- Josie's Web: A pounding, ominous track used to underscore Josie's dark side. Technically debuted in Episode 4, in the track Plotting, when Leo and Ben plan the burning of the mill, but it gets the full treatment in this episode as Harry tears off her new dress, and in Episode 13 during Josie and Jonathan's post-coitus discussion of her return to Hong Kong,

-- Dreamland: Plays as Renault affixes the trigger blade to his wrist, and confesses his true plan to Blackie's sister. A nice mix of Laura Palmer's theme and some swirling saxophone riffs.

Not yet released.

-- Harold's Theme/The Living Novel: Donna offers to read her life story to Harold if he agrees to read from Laura's diary. Released on the Season Two soundtrack, but the CD omits the dark, more ominous extensions of the theme, as in Episode 12, when Harold's agoraphobia takes hold and the climax of the same episode, when Donna and Maddy's treachery prompts him to scar himself with a garden tool.

Gets a more lurid, significantly-slowed-down treatment in Episode 18, when Josie tells Truman about her past, that has not been released.Appears again in Episode 19, when the Mayor weeps over his brother Dougie's dead body.

-- Deer Meadow Shuffle Fragment: Deer Meadow Shuffle, of course, is a prominent part of the musical landscape in the first 30 minutes of FWWM, and it's a jazz piece over a bed of brooding orchestra akin to Night Life in Twin Peaks.

A very short fragment of Deer Meadow Shuffle - the first 13 seconds of the FWWM film version of the track that was released on DL.com - appears at the start of this episode, at the 02:44 mark, as James drags Donna away from Harold, to the safe boundary of the fence, before segueing into the classic version of Harold's Theme.

-- The Woods: This episode actually has my favourite post-title credits sequences. After James consoles Donna, Harold's Theme cuts to a piece of underscore (more sound texture than music) that I'm dubbing The Woods, as the image shifts to the ominous, dense woods of Twin Peaks and the wind coursing through the trees. The piece ends with the image of an owl hooting before the plot of the episode resumes with Cooper bringing Audrey into the safe confines of The Bookhouse.

The Woods stretch of the post-title credits music, parts of which appear in Night Life in Twin Peaks (from about 0:37 to 0:57), actually gets a nice, clean treatment in Mysterioso #1, from 0:52 to 1:19, but man, wouldn't it be nice to get a stand-alone, clean, extended version of this, in the same way that some would like to see a stand-alone, clean, extended version of Dark Mood Woods? The Woods is a crucial and ofte-relied upon sound to connote the dark forces at work in the woods.

Not yet released.

-- Great Northern Piano Tune #1: One of many great piano tracks that, correct me if I'm wrong, I believe were composed by Badalamenti. This one plays in the background as Ben and Tojamura discuss their Ghostwoods transaction. Returns in Episode 24, when Mike and Nadine attempt to check in at the Great Northern as the Hinckmans, and Episode 26, when Dick's wine tasting goes sour.

I'm personally hoping for a Great Northern piano tune bundle from DL.com

Not yet released.

-- Great Northern Piano Tune #2 (Josie and Truman piano variation): People know this mostly from the start of Episode 24, when it plays, with saxophone, over a montage of nostalgia-tinged Truman and Josie moments. But it actually makes it first appearance here, in piano form, as Pete unsuspectingly has a conversation about showtunes with Catherine in Tojamura get-up. The classic Josie and Truman version, with saxophone, first appears in Episode 20, when Catherine visits Ben in his Robert E. Lee state of delusion.

Great Northern Piano Tune #2 returns in Episode 23, when Ben, Audrey and John Justice Wheeler share dinner at the Great Northern (until Ben is informed that that cook just tried to stab Jerry, that is)

Piano version not yet released.

-- Mike's Interrogation: This is a wonderfully dense, brooding track that accompanies Cooper and co.'s intense interrogation of Mike that includes fragments of Night Life in Twin Peaks, including the Woods. Worth highlighting because of its length.

-- New Shoes: Plays when Bobby and Shelly discuss their tough financial situation, and again in Episode 14 when Mike and Bobby find the tape in Leo's boot. Plays many other times in Season 2; as in Episode 29, during the long scene that concludes the Norma-Ed-Mike-Nadine quadrangle plot. Track 3 of Season Two Soundtrack. Obviously Lynch liked to use this one.

Also plays in Episode 17, during Roger's interrogation of Cooper and Truman, in Episode 18, when Hank and Eddie, in faux-hunting gear, return to the Double R and an annoyed Norma, and in Episode 23, when Norma severs herself from Hank and his entreaties to help him avoid jail time. ("You're his whore, Norma." "I'd rather be his whore than your wife.") as well as when Norma tells Shelly about Annie at the Double R and Ed swirls in to embrace Norma and tell her, "It's our turn, baby."

Its original use, to underscore Bobby's scheming ways, returns in Episode 26, when Bobby badgers Shelly into entering the Miss Twin Peaks contest and take advantage of this "beautiful people conspiracy."

-- I Know About Blackie: A nice mix of central themes: a base of classic synth Laura Palmer Theme with some nice Fresh Squeezed flourishes before settling into the Solo Piano Laura Palmer Theme Climax. Plays when Audrey interrogates Ben about his ownership of One Eyed Jacks and his relationship with Laura.

No yet released.

-- Shelly: Shelly gets a nice theme here as she quits her job at the Double R. Gets used to comedic effect in Episode 17, as Shelly bemoans the sad state of her life while brushing Leo's teeth, but quickly turns dark and segues into the Unease Motif (see Episode as Leo's chair slowly ambles forward. Track 2 of Season Two soundtrack.

-- Audrey: Track 15 of Season Two soundtrack. Plays in scene where Cooper reads from fragmented pieces of Laura's diary, but the soundtrack is an expanded version of what appears in the show, with some classic Hornes' Theme thrown in to accompany the low-registering, slow Hornes' theme that figures largely in the episode track.

-- Dark Forces: This piece of music plays underneath Laura Palmer's theme in the scene when Truman and Cooper stop Ben's meeting with Tojamura and take him away in handcuffs. It is unmistakably the same music that will be used many times in Season Two to underscore Windom Earle's evil doings, as in the end of Episode 21, when we get our first glimpse of Earl in the Flesh; episode 26, when he shoots the hitchhiker with the arrow; and Episode 28, when he leaves Leo to his horrible fate.

Also plays in Episode 16, when Donna, while visiting the manic Leland, gradually gets the dawning realization that all is not right when it comes to Maddy, especially when her mom calls the Palmer household to say Maddy never came home.

In Episode 17, it plays during Cooper and Major Briggs' night out in the woods, when the major tells Cooper about the White Lodge before disappearing. Moments before Cooper announces he needs to answer the call of nature, the Danger Theme plays subtly underneath.

Occasionally punctuated by statements of Earle's Motif, it makes a nice, clean appearance during the opening chess montage of Episode 22, and later in the same episode when Albert briefs Cooper and Truman on Earle's mailing of items formerly belonging to Caroline.

A full version of the track appears in Episode 26, when Cooper deduces that Leo wrote the poem Windom sent to Donna, Audrey and Shelly.

In this episode, it starts at the 28 minute mark.

-- Rockin' Back Inside My Heart: No explanation necessary. Track 4 of Floating Into the Night.

-- Maddy's Gone: A mix of familiar elements given an even more chilling bent in the wake of Maddy's murder. As the camera pans to observe the litany of golf balls littering the Palmer living room, the Laura Palmer Theme climax begins on solo piano. Then, after Leland bids James and Donna adieu and looks at himself in the mirror, the image of Bob looking back initiates the start of the Unease Motif.

Not yet released.

-- Hook Rug Dance: Track 17 of the season two soundtrack. No explanation necessary. Returns in Episode 21, when Ed tells Norma about Nadine's beat-down of Hank, Episode 22, when Nadine walks in on Ed and Norma in bed, Episode 23, when Nadine tells Ed she's falling in love with Mike, and in Episode 25, when Cooper and Annie make (super) cute in the Double R (i.e. the penguin joke).

-- Earle's Motif: After Cooper and Truman leave Leland on the side of the road by the golf course to answer the call about Mike's escape, Leland prepares to drive away, and at the precise moment that he looks in the mirror and Bob looks back, there's a brief statement of what will later often be used to underscore scenes with Windom Earle. The statement comes at 34:34. For those who aren't sure what I'm referring to, listen to Dark Mood Woods on the Season Two soundtrack, specifically, starting at the 1:29 mark; you'll remember it instantly. Some have referred to this as Earl's Theme, and while the degree to which it gets used in Earle scenes suggests that, I actually prefer to refer to the other, more developed Earle track, which often played on flute, in episodes like Episode 23, when Earle comes to check on Leo's progress making arrows, as Earle's Theme.

Plays to gruesome effect in Episode 27 as it amplifies Leo's terror at zapping himself with electricity.

-- Great Northern Piano Tune #3: Sultry track that plays when Hank and Eddie hobnob during a break in their dinner with Norma and her mom. Plays again in Episode in Episode 25 as Cooper, in Owl Cave getup, tells Annie he's willing to help her come to terms with her past and in Episode 26 during the Stop Ghostwood wine tasting.

-- Magic/Owl Cave: Long, questing track that plays during Cooper's assembly of suspects in The Roadhouse, culminating in the ethereal section of music playing during The Giant's returning of the ring to Cooper, which I'll refer to as Magic in other entries.

Plays during Colonel's Reilly's discussion of Briggs' disappearance and Project Blue Book in Episode 19.

Later in season two, it will be used to represent Owl Cave, as in Episode 25, when Annie confirms for Cooper that his combination of symbols is the same that appears in the cave and Cooper resolves to visit the cave, and later in the Episode (coupled with the Black Lodge rumble) during Cooper and co.'s actual visit to the Cave.

Gets a lengthy late season 2 statement in Episode 28, as Cooper realizes that "fear and love open the doors" to the lodges.

Not yet released.

-- Leland's Death: Begins with the previously-mentioned track, Magic, until Leland begins to recite the Fire Walk With Me Poem, at which point Unease Motif #2 plays in all its raw, brooding, extended glory. As Cooper guides Leland into the light, the classic Laura Palmer Theme plays to its climax.

-- Leland's Wake: Starts as the camera scans the buffet at the wake. This is a long, mournful version of Audrey's Prayer played on what instrument I do not know, but it's certainly unique enough to stand alone as its own piece. Some of Jazzy Drum Beat #2 (see Episode 2) gets mixed in as Nadine self-consciously scans the reflection in her shoes, and again as the Mayor and Dougie duke it out over Lana. Plays again during Audrey's goodbye to Cooper.

Not yet released.

-- Bobby's Dreams: A fast, bouncy version of the Audrey's Dance mixed in with Swooning Woodwinds (see Pilot) as Bobby tells a skeptical Shelly of his plans to blackmail his way into a new job with Ben.

Not yet released.

-- I Like to Lick: How can it be called anything else? Another version of Freshly Squeezed, but a really loose, fragmented, percussion-laden version of it played as Audrey comes to Bobby's rescue after Ben order his men to escort him out of the hotel.

Not yet released.

-- Jean Renault: Isolate the bass clarinet portion of Freshly Squeezed (Bass Clarinet Version), then backload it with Night Life in Twin Peaks, and you'll essentially get this track, with plays during the long, almost-single-take scene of Hank, Eddie, Jean Renault and The Mountie plotting to take down Cooper in the backrooms of One Eyed Jacks.

-- High School Swing: Plays during Nadine asks an amused Donna if Mike is available, and later in this episode when Nadine pursues Mike in the gym. Released on Season Two soundtrack.

Returns in Episode 20 when Nadine accosts Mike in the Double R and in Episode 21, as Ed and Doc Hayward discuss Nadine's heightened sexual appetite, also in the Double R. Returns in Episode 26, when Cooper asks Annie to go out on a nature walk.

Seems to underscore scenes of innocent-minded would-be coupling.

-- Twin Peaks Theme (Nostalgia Version): Plays as Ben watches old home movies in his office, and as he approaches the screen, it transitions into the Twin Peaks theme on solo rhodes. The Nostalgia version, minus guitar, plays in Episode 21, as Doc Hayward defends Nicky against Andy and Dick's allegations.

Both versions released on DL.com in April 2011.

-- The Milford Wedding #1: Organ music playing during Lana and Dougie's wedding.

Not yet released.

-- The Milford Wedding #2: The accordion track that plays during the wedding reception at the Great Northern, as Cooper and Bryson discuss the charges against Cooper at the bar.

Not yet released.

-- Everybody Happy: I've neglected the " 's " after "Everybody" in honor of Jean Renault. But more to the point, this tune, which plays during the latter half of Cooper and Bryson's discussion and during Cooper's meeting of Lana ("You're the man who solved the Laura Palmer Case") foreshadows the ebullient atmosphere of the reception, and is later used, in Episode 25, to underscore a veritable showering of happiness in the Double R as Cooper connects with Annie (penguin joke) and Gordon Cole discovers he can hear Shelly perfectly.

-- The Milford Wedding #3: "Everybody Happy" ends just as the Mayor says, "That's because I use my brain for thinking, not my garden hose," and thus begins The Milford Wedding #3, as various couples (including Bryson and Andy) take to the dance floor.

Not yet released.

-- Packards' Vibration: Makes its debut at the close of the episode, as Andrew reveals himself to be very much alive. Released on Season Two soundtrack, but the longer version from this episode would be most welcome.

Plays in Episode 18, when Pete and Catherine toast their reacquisition of the Ghostwood estate, and in Episode 22, once when Truman and Cooper visit Josie at the Blue Pine Lodge and urge her to fess up, when Josie serves Eckhardt and Catherine dinner and when Cooper lifts the fiber from Josie's coat. You might say Packards' Vibration is the dominant theme of Episode 22. Appears again in Episode 23, when Josie faints at the sight of Andrew, and when Catherine directs Josie to the gun hidden in the book case.

And it gets a darker, slower treatment in Episode 20, when Truman visits Josie at the Blue Pine Lodge and is dismayed to find she's working as Catherine's maid.

-- Bobby's Assignment: A mix of Jazzy Drum Beat #2 (see Episode 2) and Moaning Woodwinds (see Pilot) that plays in the first scene, when Ben tasks Bobby with spying on Hank.

Not yet released.

-- Dead Dog Farm: Brief but heroic, ultra-slow rendition of Dance of the Dream Man, essentially Cooper's theme, playing as Cooper tosses a coin that lands on photos of Dead Dog Farm.

Not yet released.

-- Lana's Theme: Makes it debut here as Lana pours her heart out to a smitten Deputy Hawk. Returns with force later in the episode when Lana weaves a tale of seduction for Andy, Cooper and company, much to the consternation of Lucy.

Not yet released.

-- Little Nicky: A short track that begins ominously with the Earl Motif but quickly descends into comedic underscore as Dick shares his suspicions about Nicky with Andy, punctuated at the end with the image of Nicky in devil garb.

Not yet released.

-- Evelyn: Plays when Malcolm visits James in his room as Evelyn is beaten by her husband. This is the second half of the track I'm Hurt Bad from the Season Two soundtrack.

Plays again in Episode 20, when James and Evelyn get it on on the repaired car, and gets used a lot in Episode 22, as when James falls for Evelyn again before getting hit in the head by Malcolm, and during Malcolm's death scene.

-- Packard's Vibration (Slow Version): This is different enough to warrant inclusion as its own entity. A dark, foreboding version of Packard's Vibration that hints at bad things to come for Josie. Plays when Truman visits her at the Blue Pine Lodge.

Not yet released.

-- Ben's Gone Crazy: Plays as Audrey first encounters Ben in his semi-Robert E. Lee and an assistant in drum dance garb flees Ben's office. It's the suspense version of the Laura Palmer Theme mixed with some playful flute flourishes.

Not yet released.

-- Josie and Truman: Best known for its statement over the opening credits of Episode 24, as Harry mourns the loss of Josie, but makes its debut here as Catherine goes to Ben's office to gloat over her victory over him regarding the Ghostwood estate. Returns in Episode 26, when John Justice Wheeler sets, by the light of a Great Northern fire, to Cooper, "Love is hell."

Released on Season Two and More soundtrack

-- Ed and Norma Love Anthem: The Twin Peaks Theme gets the romantic, solo piano treatment full of yearning and hope in this scene heralding Ed and Norma's decision to finally get togerther.

Not yet released.

-- Ben's Gone Marching Home: The Civil War march that plays during Bobby's visit to Ben's office, which has been taken over by Civil War playthings; Jerry's apalled reaction to Ben's mental state in Episode 21, and Major Briggs' collapse at the sheriff's station in the same episode.

Not yet released.

-- Ben's Lament: A companion piece to Ben's Gone Marching Home, this wistful harmonica track plays after Bobby leaves Ben and Catherine comes to gloat in fron of Ben. The piece eventually segues into Josie and Truman.

Not yet released.

-- Earle's First Kill: Starts off as Night Life in Twin Peaks but then builds to a truly frightening orchestral pitch as Cooper discovers the dead vagrant's body in Truman's office, pointing to the chess board. Also underscores Josie's being trapped in the drawer pull at the end of Episode 23.

-- Deciphering Earl's Message: Plays in the opening scene as Cooper, Truman and Hawk deciper the crime scene of the dead vagrant. Starts with Dark Forces (see Episode 14), moves into some brooding underscore, and notable for including the first statement of what I consider Earle's Theme, played on flute, and played right on Truman's line (at around 3:13) "Coop, are you sure Windom Earle is behind this?" and repeated as Coop discusses Earl's precisio and genius.

Not yet released.

-- Leo's Rebirth: Plays during Leo's attack on Shelly. Like the action cues that Badalmenti composed for the season one finale, I'm not sure if this track was composed in an intentionally cheesy manner, but it comes off that way. A short section of it returns in Episode 24, when Tremayne gets bitten on the nose by the pine wiesel, and the bulk of it pops up in Episode 25, when Earle enlists Leo to pick a card (and the unsuspecting candidate who will become the target of Earle's terror)

Not yet released.

-- Earle's Theme: Begins as Leo wanders toward Windom's cabin, with repeated statements of the theme on flute. Moves into Dark Forces and ends with a combination of Eare's Motif (see Episode 15) and Earl's Theme.

-- Evelyn's Fate: This is a kind of aimless, wandering piano-driven theme that kind of sounds like the an undeveloped precursor to the Laura Palmer Theme held in permanent stasis until, at the 03:14 mark, it in fact leads into the piano version of Laura's theme that is featured in Track 1 of the Season Two and More soundtrack. Starts as the opening chess montage transitions to the shot of a mourning Evelyn sitting on the stairway of her mansion.

Not yet released (the majority of the track that doesn't include the Laura Palmer Theme)

-- Audrey's Prayer (Earle Flute Version): On close inspection, Audrey's Prayer got as many variations (Annie and Cooper, Leland's Wake) as some of the classic season one themes (Audrey's Dance, Freshly Squeezed.) Here, it is played on flute by Earle before he delivers the first of what will be many long-winded tirades to Leo. The track eventually gives way to The Black Lodge Rumble (see Episode

Not yet released.

-- Annie and Cooper: This version of Audrey's Prayer doesn't actually make its debut in the episode it's known for (Episode 27) but here, as Evelyn blows smoke rings and James barges into her home to confront her. It eventually transitions to the classic version of Audrey's Prayer (see Episode . Released on DL.com

-- The End of the War: A harmonica track played by Jerry to mark the signing of the treaty that ends Ben's reimagening of the Civil War and sparks Ben's recovery. As DEniZZrus pointed out, this song is the result of Jerry totalling botching a performance of Dixie.

-- The Mask: A nice, clean melding of Dark Forces and Earle's Theme played as Cooper and Truman listen to Earle's recording in Truman's office at the start of the episode.

Not yet released.

-- John Justice Wheeler's Theme (Wheeler's Theme): Twangy guitar track accompanying Wheeler's entrance into Audrey's life as she fumbles while helping him at the concierge desk. Returns in this episode during Audrey and John's dinner at the Great Northern ("I'm only 18.")

-- Mysterioso #1: A portion of this track - which, in its DL.com-released version, segues into The Woods (see Episode 13) - appears briefly here as the Log Lady recognizes the tattoo behind Major Briggs' ear. Specifically, it's the portion of Mysterioso #1 from about 0:18 to 0:47, but without the jazz pluckings that dominate the DL.com version of it.

-- Audrey's Walk: This short but beautiful song, played on flute by Earle, transitions to the slowed-up image of Audrey walking down the runway during rehearsals for the Stop Ghostwood fashion show.

Not yet released.

-- Freshly Squeezed (Fashion Show Version): This is a nice, lengthy version of Freshly Squeezed, parts of which made an appearance in Episode 19, when Audrey presented Cooper with the Dog Dog Farm photos and a kiss. It underscores Ben's speech, the fashion show and Ben's speech about "a good first scrubbing on the guiltiest conscience in Twin Peaks."

Not yet released.

-- Attack of the Pine Weasel: A short burst of Leo's Rebirth (see Episode 21) punctuates the moment when Tremayne is bitten in the nose by the pine wiesel before segueing into this madcap track, played as the attendees of the Stop Ghostwood fashion show flee in terror from the pine weasel set loose by Tremayne and Pinckle.

Not yet released.

............................................Episode 25: On the Wings of Love............................................

NEW TO THIS EPISODE:

-- Jones' Strike: Preceded some shrieking, grating woodwinds that underscore Jones' slow approaching Truman's bed in the Roadhouse, thisis the lengthiest, cleanest statement of the Danger Theme (see Pilot) ever featured on the show, and thus deserves special emphasis.

-- Tale of the Lodges: This track, which begins as Cooper and co. stare at the petroglyth in Owl Cave, starts with Earle's Theme on flute coupled with The Woods before segueing into a relatively clean treatment of 24 Hours/The Evil That Men Do (see Pilot, Episode 16) accompanying Earle's telling the hitchhiker and Leo about the black and white lodges. It ends with a statement of Audrey's Walk as the scene transitions to Pete reciting his improvised poem about Josie.

A meld of already-oft-used tracks, but any pieces that nicely combine a series of different themes is always worth a mention.

Not yet released.

......................................................Episode 27: The Path to the Black Lodge......................................................

No new tracks or significant combining of various tracks that haven't already appeared in previous episodes.

-- Night Bells (Slow Distorted Version): Plays as Major Briggs stumbles out of the woods, and again as Cooper and Truman attempt to speak to him in his drug-induced stated at the sheriff's office.

Not yet released.

-- Miss Twin Peaks: The music that launches us into the Miss Twin Peaks pageant, as the women of Twin Peaks engage in a dance with plastic see-through umbrellas. Plays again as Donna confronts Ben and realizes he's her father, and again as doc Hayward takes to the stage to announce the winner.

..............................................Episode 29: Beyond Life and Death..............................................

NEW TO THIS EPISODE:

-- Dark Mood Woods: The dominant theme of this episode, and the second last track on the Season Two and More soundtrack, where it is interrupted by Sycamore Trees and some plundering Red Room music. A stand-alone version of this track, featuring some extensions of the music, has yet to be released.

Plays during: the opening scene in the sheriff's station; Earle's taking Annie into the forest and the lodge; Cooper and Truman's trek into the woods; Truman and Andy's vigil at Glastonburry Grove; Sarah's message to Major Briggs in the Double R; and the fateful image of Bob staring back at Cooper in the final scene of the series.

-- Drape Runners: This track, which plays as Nadine comes back to life, derails everybody's plans and demands to know where her drape runners are, is essentially New Shoes (see Episode 14), but if you listen closely, the track Shelly, also originally from Episode 14 and clearly a favourite of Lynch's, plays subtlety underneath New Shoes, adding a pinch of heightened emotion as the gravity of the situation hits Mike.

Not yet released.

-- Leave My Family Alone: This is a slightly amped, sped-up version of the Danger Theme (see Pilot) that plays during Doc Hayward's attack on Ben, seguing into some intriguing underscore as Pete catches Andrew snatching the safety deposit key.

Not yet released.

-- Sycamore Trees: No explanation necessary, really.

Last edited by Guy Quenneville on Wed May 18, 2011 7:24 pm, edited 5 times in total.

Guy Quenneville wrote:-- Deer Meadow Shuffle (Fragment): Deer Meadow Shuffle, of course, is a prominent part of the musical landscape in the first 30 minutes of FWWM, and it's a jazz piece over a bed of brooding orchestra akin to Night Life in Twin Peaks.

A very short fragment of Deer Meadow Shuffle - the first 13 seconds of the FWWM film version of the track that was released on DL.com - appears at the start of this episode, at the 02:44 mark, as James drags Donna away from Harold, to the safe boundary of the fence, before segueing into the classic version of Harold's Theme.

So it's not a Deer Meadow Shuffle really. Film version contains other music layers (also from the series) and this fragment is the one of them

Guy Quenneville wrote:-- Deer Meadow Shuffle (Fragment): Deer Meadow Shuffle, of course, is a prominent part of the musical landscape in the first 30 minutes of FWWM, and it's a jazz piece over a bed of brooding orchestra akin to Night Life in Twin Peaks.

A very short fragment of Deer Meadow Shuffle - the first 13 seconds of the FWWM film version of the track that was released on DL.com - appears at the start of this episode, at the 02:44 mark, as James drags Donna away from Harold, to the safe boundary of the fence, before segueing into the classic version of Harold's Theme.

So it's not a Deer Meadow Shuffle really. Film version contains other music layers (also from the series) and this fragment is the one of them

Right. Actually Deer Meadow Shuffle is by Lynch and Slusser. For the film's sound mix they must have layered in some additional sound elements.

Guy Quenneville wrote:-- Deer Meadow Shuffle (Fragment): Deer Meadow Shuffle, of course, is a prominent part of the musical landscape in the first 30 minutes of FWWM, and it's a jazz piece over a bed of brooding orchestra akin to Night Life in Twin Peaks.

A very short fragment of Deer Meadow Shuffle - the first 13 seconds of the FWWM film version of the track that was released on DL.com - appears at the start of this episode, at the 02:44 mark, as James drags Donna away from Harold, to the safe boundary of the fence, before segueing into the classic version of Harold's Theme.

So it's not a Deer Meadow Shuffle really. Film version contains other music layers (also from the series) and this fragment is the one of them

Right. Actually Deer Meadow Shuffle is by Lynch and Slusser. For the film's sound mix they must have layered in some additional sound elements.

I've removed the paranthesis from "Fragment" in the title to better reflect its status as a mere fragment in the series.

And DEniZZrus, I've added your observation about Dixie to The End of the War.

Guy Quenneville wrote:-- Josie's Fate: This soft, synthesizer version of the Laura Palmer theme becomes the dominant musical identity of Episode 23, as Josie's fortunes turn progressively worse, but it makes its first appearance in this episode, in the early scene between James and Donna in the Double R. Also plays in Episode 17, where it is preceded by that signature Lynch wind sound, as Catherine tells Truman about her guardian angel and the night the mill burned, and in Episode 21, when Cooper tells Truman about Caroline's death and the spectral image of Caroline appears above Cooper.

In Episode 18, it underscores Hawk's telling Cooper about The White Lodge, again with wind sound playing underneath. In Episode 23, it plays many times, as when Cooper visits Josie again to urge her to confess, when Andrew entreats Josie to confront Eckhardt (with the Black Lodge Rumble mixed in subtly, anticipating her fate at the hand of Bob)

That's not exactly how it is

There are 4 main 'variations' of this 'version' (and first of them have two 'parts').

1. First we hear this 'version' in ep. 7 (yes!) when Pete runs into the burning mill. This 'variation' have lower sound and is in two separated "parts" - the first one is only main theme (and was never used I think), and the other one (used in ep. 7) which have main part very short but have other darker part (that's what was used in episode). This tracks are different tracks, not one divided in two.

2. The most used 'variation' is used in ep. 16 (the ring scene mentioned above), in ep. 23 with Josie scenes, and in ep. 18 (in half-speed) when Hawk tells about Black and White Lodge.

3. The third 'variation' was used in ep. 18 when Catherine tells Harry her story after the mill burn. This one is similar to 'variation' 2 but have stronger accords.

4. And the fourth 'variation' was used in ep. 16 when Donna and Cooper comes to Ms Tremont (in 'Laura Last Stand'/'Letter from Harold').

Guy Quenneville wrote:-- Josie's Fate: This soft, synthesizer version of the Laura Palmer theme becomes the dominant musical identity of Episode 23, as Josie's fortunes turn progressively worse, but it makes its first appearance in this episode, in the early scene between James and Donna in the Double R. Also plays in Episode 17, where it is preceded by that signature Lynch wind sound, as Catherine tells Truman about her guardian angel and the night the mill burned, and in Episode 21, when Cooper tells Truman about Caroline's death and the spectral image of Caroline appears above Cooper.

In Episode 18, it underscores Hawk's telling Cooper about The White Lodge, again with wind sound playing underneath. In Episode 23, it plays many times, as when Cooper visits Josie again to urge her to confess, when Andrew entreats Josie to confront Eckhardt (with the Black Lodge Rumble mixed in subtly, anticipating her fate at the hand of Bob)

That's not exactly how it is

There are 4 main 'variations' of this 'version' (and first of them have two 'parts').

1. First we hear this 'version' in ep. 7 (yes!) when Pete runs into the burning mill. This 'variation' have lower sound and is in two separated "parts" - the first one is only main theme (and was never used I think), and the other one (used in ep. 7) which have main part very short but have other darker part (that's what was used in episode). This tracks are different tracks, not one divided in two.

2. The most used 'variation' is used in ep. 16 (the ring scene mentioned above), in ep. 23 with Josie scenes, and in ep. 18 (in half-speed) when Hawk tells about Black and White Lodge.

3. The third 'variation' was used in ep. 18 when Catherine tells Harry her story after the mill burn. This one is similar to 'variation' 2 but have stronger accords.

4. And the fourth 'variation' was used in ep. 16 when Donna and Cooper comes to Ms Tremont (in 'Laura Last Stand'/'Letter from Harold').

Which variation is used in the scene that Guy mentions when Cooper talks about Caroline? #3?

Listened to them again with my surround sound speakers (!) and you're right about Laura's Last Stand, and yes, the Caroline and Catherine versions are the same. Oh, the endless rabbitt the hole that is Twin Peaks music.

"Write it in your diary."

I'll update my guide.

Just because there are so many interations of Laura Palmer's theme, though, I'm going to stick with calling this batch of tracks Josie's Fate, just so we don't end up with Laura Palmer Theme Version 15!

Guy Quenneville wrote:-- Josie's Fate: This soft, synthesizer version of the Laura Palmer theme becomes the dominant musical identity of Episode 23, as Josie's fortunes turn progressively worse, but it makes its first appearance in this episode, in the early scene between James and Donna in the Double R. Also plays in Episode 17, where it is preceded by that signature Lynch wind sound, as Catherine tells Truman about her guardian angel and the night the mill burned, and in Episode 21, when Cooper tells Truman about Caroline's death and the spectral image of Caroline appears above Cooper.

In Episode 18, it underscores Hawk's telling Cooper about The White Lodge, again with wind sound playing underneath. In Episode 23, it plays many times, as when Cooper visits Josie again to urge her to confess, when Andrew entreats Josie to confront Eckhardt (with the Black Lodge Rumble mixed in subtly, anticipating her fate at the hand of Bob)

That's not exactly how it is

There are 4 main 'variations' of this 'version' (and first of them have two 'parts').

1. First we hear this 'version' in ep. 7 (yes!) when Pete runs into the burning mill. This 'variation' have lower sound and is in two separated "parts" - the first one is only main theme (and was never used I think), and the other one (used in ep. 7) which have main part very short but have other darker part (that's what was used in episode). This tracks are different tracks, not one divided in two.

2. The most used 'variation' is used in ep. 16 (the ring scene mentioned above), in ep. 23 with Josie scenes, and in ep. 18 (in half-speed) when Hawk tells about Black and White Lodge.

3. The third 'variation' was used in ep. 18 when Catherine tells Harry her story after the mill burn. This one is similar to 'variation' 2 but have stronger accords.

4. And the fourth 'variation' was used in ep. 16 when Donna and Cooper comes to Ms Tremont (in 'Laura Last Stand'/'Letter from Harold').

Which variation is used in the scene that Guy mentions when Cooper talks about Caroline? #3?

As Qbin has rightly pointed out, it's the same as in Episode 17, when Catherine tells Truman about the night she disappeared.